Tine Damborg

Location

Odense

Position

underviser, dans (studielektor)

Phone

+45 4172 2131

tida@scenekunstskolen.dk

baggrund og sceneliv

Tine Damborg er fastansat i en deltidsstilling på DDSKS Odense, hvor hun varetager opgaver som afholdelse af grundtræning, diverse danse/bevægelsesklasser, kontakt improvisation, improvisation, Duet-projekter, et forløb i landskabet mellem krop og stemme, bevægelses instruktion og koreografi v. forestillingsforløb, bl.a. på fjerdeårets præsentationsforestilling Lilleskoven i november 2015 i Odense Teaters Regi.

Hun blev uddannet danser på DanseProjektet/Skolen for Moderne Dans (nu Den Danske Scenekunstskole) i 1995. Siden har hun medvirket som professionel danser i danseforestillinger, turnerende børneteatre, rockmusicals og eksperimenterende performance med bl.a. instruktører og koreografer som: Anita Saij, David Dorfmann (US), Ninna Steen, Malte Claudio Lind, Emil Hansen og Jørgen Carslund. Samtidigt var hun i perioden fra 1997-2008 en af de drivende kræfter i Rasmussens Gaderobeshow sammen med Charlotte Rasmussen og Dorte Petersen.

I 2018 afsluttede Tine, med udmærkelse, den toårige MFA (Masters of Fine Arts ) Movement, Teaching & Directing på Royal Central, School of Speech and Drama - University of London.

Tine modtog i 2003 Dansk Skuespiller Forbunds koreograflegat og har efterfølgende koreograferet egne værke og turneret bl.a. med forestillings- & undervisningsprojektet Dans for og med børn. Tine har undervist både børn, unge og voksne siden 2005 og var fra 2005-2014 kunstnerisk leder af U-kompagniet, i Odense, et moderne dansekompagni for unge.

Tine arbejder empatisk med det kropslige ud fra, både en indefra og ud indstilling, som fra en udefra og ind –indstilling, fordi vores nervesystem allerede hele tiden gør begge dele.

Lokalt varetager Tine også diverse administrationsopgaver bl.a. i det nordiske teaterskolesamarbejde Norteas. I januar 2016 var Tine jurymedlem på årets optagelsesprøver.

Tine har også en etårig danseformidlingsuddannelse (2007-2008 ) fra Den Danske Scenekunstskole, og i 2011 blev hun certificeret yogalærer under YogaWorks. Hun har også foretaget anden efteruddannelse i form af studieture til Berlin, Leipzig, Oslo, Stockholm, New York, Amsterdam og London, som har bidraget med et alsidigt erfaringsgrundlag.

viden fra faglig praksis

Andersens Duende

En Fysisk Opera, marts 2019, på Dynamo i Odense - Koreografisk Konsulent

Den Anden Verden

Årets julekalender 2016 på DR 1. Koreograf. Optagelserne foregik på Nyborg Slot, med 22 dansere inkl. de skuespillere, der er med i julekalenderen. Marts 2016.

La Serva Pardrona

Pergoelsi’s “Comedia Dell Arte” opera. Tine spillede rollen som den stumme tjener Vespone med det nystartede fynske opera kompagni Opera-Clé. Februar 2016

Bagerst i Skuffen

Danser v. SART Danseteater. På Den Fynske Opera, Odense. August 2015.

Den fiffige lille ræv

Leoš Janáček Opera, koreograf, Konservatoriet i Odenses klassiske sanger linje. Januar 2015

Ekstern undervisning

Marts 2019: Intruktør på Hindemith's Hin und Züruck for et dobblecast af klassiske sangere på Syddansk Musikkonservatorium
Marts 2018: Intruktør på Shumann's Dichterliebe for 5 mandlige klassiske sangere på Syddansk Musikkonservatorium
2016-2017: Underviser, koreograf og movement coach på East15, Royal Central School of Speech and Drama samt ArtsEd, i London
Efteråret 2017, 2015 og 2014: I Viljandi/Estland for at undervise i didaktik og forberede tredjeårsstuderende på deres undervisningspraktik på University of Tartu, Viljandi Culture Academy, Performing Arts Department’s Danseline.
2013-2015: Bevægelses coach og koreograf på Musik Konservatoriet i Odense, både på performerlinjen og på klassisk sang.
August-december 2014: Dansecoach og underviser på Elite Teater Akademiet, et teater-trænings-forløb for unge.
April/maj/juni 2013, 2014, 2015: Undervisningsassistent på Syddansk Universitet på idræt under deres dans- og performancemodul.

Andet eksternt

Underviser og afholder workshopen 'From Body to Text' på Kreta med Instruktør JP Cook.
December 2014 og 2015: Sidder i udvalget der vælger hvilke dansekompagnier der skal udvælges til turné virksomhed under Dans for og med børn.
April 2015: Oplæg med efterfølgende debat om, hvad det vil sige at være danseunderviser kontra danseperformer på en dansekonference i Viljandi/Estland.
April 2014: Coach og underviser for Embla, danmarksmestre i folkedans.

PRESENTATION IN ENGLISH

BIOGRAPHY

Tine trained as a contemporary dancer from what is now known as The Danish National School of Performing Arts (DASPA). Holds an MFA in Movement: Teaching & Directing, from Royal Central School of Speech and Drama, in London.

Part time Movement specialist at DASPA’s Odense department. Works as the dance/movement teacher on the BA Acting program at The Danish National School of Performing Arts, Odense department, with 1st and 2nd year students on stamina, general fitness, contemporary dance, period movement and dance, yoga, contact improvisation also in relation to Meisner’s repetition exercise, somatic work on the life of the character, movement based improvisation, composition, movement direction and an interdisciplinary Brecht-inspired project with the school’s singing teacher and one-on-one coaching. The work also includes projects with 3rd and 4th year acting students and their drama teachers. Tine is also very active in the Nordic Network “Norteas” - a working network formed by the Nordic and Baltic Theatre Schools.

Has since finishing her training worked as a freelance dancer and performer in several different dance shows, performances, rock-musicals, touring children’s theatre and site specific work. Simultaneously, also choreographing and dancing her own work, which in 2003 made her the recipient of The Danish Actors' Union Choreography Grant. Besides working as a dancer, she has also been teaching. From 2005 – 2013 TD founded and was the artistic director of the Danish youth contemporary dance company, “U-kompagniet”. Has since 2008 and currently is, a movement specialist teacher at The Danish National School of Performing Arts, Acting department in Odense.

Tine has always engaged thoroughly with many different styles of movement and has an extensive movement practice, comprising contemporary dance, jazz, ballet, movement fundamentals, Klein, Butoh, Iyengar/Ashtanga/Yin and Vinyasa Yoga, Pilates, bio-energy & tremor, and is a developing Feldenkrais practise. Also, whilst taking her MFA, learning period movement and dance with period-movement specialist Ian Brener.

Tine grew up in Tanzania and from 1975-1980 was a student at the International School of Tanganyika. In 1980 she fell in love with ballet but not being able to attend ballet classes instead took up horseback riding and vaulting (acrobatics on horseback). In 1989 Tine discovered Contemporary Dance.

PEDAGOGICAL PRACTICE

In teaching and rehearsal situations I often use an amalgam of somatic movement practices such as Authentic Movement, guided movement improvisations, Contact Improvisation, developmental movement patterns, hatha yoga and contemporary dance to develop a heightened sense of attention as well as the ability to take notice of sensorial feedback that evolves from these movement practices. This feedback can be used for performance purposes to create original and personal material, or deepen the understanding of ones own (habitual) movement patterns and bring more clarity to the quality of ones movements. By being sensorially open the performer experiences the reality of the present moment instead of having to pretend. Performance takes place in the freshness of the now, not in the echo of yesterday’s rehearsal. In class, I alternate dynamically between educator guided and student influenced teaching. I believe that we learn best when exchanging and interacting with each other. In my research I’m exploring how the theory of ’Embodied Cognition’ can be applied to actor movement training, and how this understanding can help me assist the development of an even more embodied actor. Embodied Cognition argues that cognition not only takes place in our brains and peripheral nervous systems, but also in the interaction with our social and physical environments. We are minded bodies that live our experience of each moment through both our dynamic brains and our intelligent bodies.